Quote

I'm usually very attracted to things that I can't define. If something's too clear, it's very often not inspiring to me anymore.

Raf Simons

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Raf Simons
Age: 56
Born: 1968
Born: January 12
Dressmaker
Fashion Designer
Raf Jan Simons
Anymore
Inspiring
Usually
Clear
Often
Something
Things
Attracted
Define

More quotes by Raf Simons

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Both costume and fashion are about telling a story, except that in a ballet the story has already been written by the composer or the librettist.
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I dont want to show clothes, I want to show my attitude, my past, present and future. I use memories and future visions and try to place them in todays world.
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I wanted an idea of the future, a new femininity. I wanted you to feel that you wouldn't quite know where these women were coming from and where they were going to.
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I like very much to put on fashion shows.
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My aim is a very modern Dior, but at the end of the day, I also look back.
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Unlike fashion, art isn't applied. It doesn't have to serve anybody. It doesn't have to be there for any other reason than to give an impression of what the world is about.
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Sometimes it’s more a matter of collaboration which matters in a collection.
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My whole life, I've always had to be surrounded by creative things. I find it relaxing to be in touch with creations by other people.
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Fashion is such an octopus. You're connected to so many people: suppliers, pattern makers, production teams, marketing teams, vendors.
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The future, for me, is romantic, I don’t understand people who say the past is romantic. Romantic, for me, is something you don’t know yet, something you can dream about, something unknown and mystical. That I find fascinating.
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We are very excited to re-launch the collaboration with Fred Perry. We have great appreciation for the heritage of the brand as well as their dynamism in guiding the brand towards the future. Their openness to create synergies between both our brands will bring interesting, creative results.
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The Dior heritage is so broad. It has a strong presence in the work. So, when people have to define it quickly, it's, like, the Bar jacket and the movement and the luxury and the Belle Époque and so much more.
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You do what you do. Or you do what you have to do. I don't know how to explain it better. I think that in the moment, you can't see connections, but sometimes afterwards you do.
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I never really have to sit at a desk thinking, What should I do now? It doesn't work like that for me, and it never has. My thinking process is constant. The difference is that once I was in Antwerp only doing two men's shows a year. And the weird thing is I thought I was busy then.
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Becoming a fashion designer is agreeing with the fact that what you experience or what you see as free is also connected to a system. Does that mean giving up your freedom? I still don't know the answer. There's a very different kind of psychology going on in the fashion scene than in art.
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I always try to connect with what's happening in the world-reality, modernity, the 21st century, all that - and with Jil it started to feel very disconnected from the outside and how women were looking at fashion, experiencing fashion, interpreting fashion.
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Camouflage is about much more than concealment and going unnoticed. There's a whole game involved between revealing and hiding.
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My mother was a cleaning lady all her life.
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I find it fascinating to see the fact that women want to buy things that they see on men.
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I've always seen myself as a small entity, and it will always stay like that. I'm not changing. But I think the big challenge for me taking on the Dior thing is to see how I can connect that to such a huge institution.
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